If you’re going to retell one of the most epic stories in human history, you’ve got to go big. That’s exactly what director Darren Aronofsky did with “Noah,” and critics say this ambitious adaptation of one of the Old Testament’s most familiar tales is visually majestic and powerfully acted, though the screen is so stuffed that the main narrative occasionally gets sidetracked. Russell Crowe stars as Noah, a devout man who lives in harmony with nature. When Noah has visions of an apocalyptic flood, he builds an Ark and hits the high seas, encountering some fearsome descendants of Cain along the way. “Noah” is currently at 71 percent on Rotten Tomatoes’ Tomatometer; check out some of the reviews here:

Fresh: “‘Noah’ can be silly or sublime, but it’s never less than fascinating. I was on board from start to finish.” — Joe Morgenstern, Wall Street Journal

Fresh: “‘Noah’ is occasionally clumsy, ridiculous and unconvincing, but it is almost never dull, and very little of it has the careful, by-the-numbers quality that characterizes big-studio action-fantasy entertainment.” — A.O. Scott, New York Times

Fresh: “Unlike most action movies, it’s the furthest thing from a cynical piece of work. It’s a movie to wrestle with and talk about.” — Mick LaSalle, San Francisco Chronicle

Rotten: “Clearly Aronofsky isn’t out to make yet another stodgy Bible movie, but it often feels as though he’s reining in his showier artistic impulses lest he offend the faithful.” — Alonso Duralde, The Wrap

“Sabotage”

Hollywood has turned out plenty of action films about morally ambiguous law enforcement agents, and critics say “Sabotage” offers little beyond solid acting and an overabundance of gore to distinguish itself from the pack. After stealing a huge amount of cash during a raid, several members of a DEA unit are mysteriously murdered. It’s up to the team’s leader, John “Breacher” Wharton (Arnold Schwarzenegger), to find out who’s responsible. “Sabotage” is currently at 18 percent on the Tomatometer; here’s what some of the critics are saying:

Rotten: “The waves of mayhem pound harder and with greater frequency as the movie wears on, building to a conclusion that’s harrowing, even by the gruesome standards of today’s action thrillers.” — Michael O’Sullivan, Washington Post

Rotten: “The bloodshed is unrelenting and, ultimately, exhausting. There are [only] so many disembowelments and head shots, and bodies torn into pieces you can take.” — Bill Goodykoontz, Arizona Republic

Fresh: “[Director David] Ayer crafts slick handheld sequences that put us beside the DEA team, prowling hallways with death around every corner… Where his film excels, though, is in giving his characters a bit of substance.” — Colin Covert, Minneapolis Star Tribune

“Cesar Chavez”

Even the most extraordinary lives don’t follow a three-act structure, so it’s understandable that filmmakers must cut a few corners when making a biographical film. Unfortunately, critics say “Cesar Chavez” is an earnest but muted portrait of the influential labor leader that fails to capture its subject’s fire and complexity. The film follows Chavez (Michael Pena) during his extended campaign to secure better earnings and conditions for migrant farm workers in California. “Cesar Chavez” is currently at 36 percent on the Tomatometer; here are some of the reviews:

Rotten: “While the film’s old-fashioned virtues and the integrity of its subject matter give it some traction, pedestrian handling, a lumpy script and some significant miscasting mean it only occasionally summons the dramatic power to match the events it depicts.” — David Rooney, Hollywood Reporter

Fresh: “The film should satisfy those looking for faithful, though not hagiographical, depiction of the icon, although others might be left wishing the filmmakers had taken a more inventive approach.” — Anna Storm, Film Journal International

“The Grand Budapest Hotel”

Wes Anderson is undoubtedly one of contemporary cinema’s most distinctive stylists, and critics say he’s got another winner with “The Grand Budapest Hotel,” a madcap, bittersweet period piece with outstanding performances from its illustrious cast. Ralph Fiennes stars as Gustave, a concierge at a swanky European hotel with an eccentric guest list. When Gustave’s rich octogenarian paramour bequeaths him an invaluable painting, he draws the ire of her outraged son; chaotic hilarity ensues. “The Grand Budapest Hotel” is Certified Fresh at 91 percent on the Tomatometer; here are a few of the reviews:

Fresh: “Anderson works so assiduously to create obsessively detailed on-screen worlds that the effect has sometimes been hermetic, even stifling. ‘The Grand Budapest,’ however, is anything but.” — Kenneth Turan, Los Angeles Times

Rotten: “A movie that, for all its gorgeous frills and furbelows … never seemed to me to be quite sure what it was about.” — Dana Stevens, Slate.com

“Bad Words”

Jason Bateman makes his directorial debut with “Bad Words,” and critics say that while this vulgar black comedy goes a little soft in the final stretch, it’s a fine showcase for the star’s sardonic, misanthropic persona. Bateman stars as Guy Trilby, a 40-something who finds a loophole that allows him to enter a national spelling bee. He proceeds to insult his juvenile competitors and appall their parents, while a reporter tries to discover what’s motivating his ruthless campaign. “Bad Words” is currently at 66 percent on the Tomatometer; here’s a rundown of the reviews:

Fresh: “In this profanely funny comedy of bad manners and hurts that won’t heal, Bateman shows the same skill as a filmmaker that he does as an actor. And that’s something to see. ” — Peter Travers, Rolling Stone

Fresh: “Bateman knows how to play jerks as well or better than anyone. He’s perfect at the center of this foul-mouthed, loose-limbed, often hilariously mean comedy.” –Matthew Odam, Austin American-Statesman

Rotten: “A mildly amusing, and modestly if efficiently mounted, film which, when not politically incorrect or confrontational, is too joyless and generic for words.” — Duane Dudek, Milwaukee Journal Sentinel

About Speakeasy

Speakeasy is a blog covering media, entertainment, celebrity and the arts. The publication is produced by Barbara Chai and Jonathan Welsh with contributions from the Wall Street Journal staff and others. Write to us at speakeasy@wsj.com or follow us on Twitter at @WSJSpeakeasy or individually @barbarachai.